Showing posts from category: architects
People to Buildings: Don’t Waste Your Energy
Almost 40 percent of the energy consumed in the United States is used by buildings, a fact that inspired the Center for Architecture’s fall exhibition, “Buildings = Energy,” a walk through the various ways designers, planners, and engineers can reduce energy consumption through smart design. In that vein, the center will also present a mini-exhibition called “Smarter Living—The 2,000-Watt Society,” sponsored by ThinkSwiss, about the city of Zurich’s attempt to shrink its per-capita energy use from 6,500 watts to 2,000 by 2150. Both are on view at the Center’s La Guardia Place headquarters, so save your own energy and check them out together (536 La Guardia Pl., nr. Great Jones St.; “Buildings = Energy,” 10/1–1/21; “Smarter Living, 10/1–10/31”; M-F 9 a.m.–5 p.m., Sa 11 a.m.–5 p.m.; 212-683-0023
Image Above:
A rendering of One Building=Many Choices, designed by Perkins+Will for the “Buildings = Energy” exhibition. (Photo: Perkins+Will )
Declining vacancy rates seen as offering some hope of a possible pick up in construction down the road. Costs climb as much as 3.6% in year, while employment falls 3%.
Rising materials prices and higher wages set by new labor agreements are causing New York construction costs to rise for the second year in a row after a decrease in 2009.
Two industry analysts, consulting firm Rider Levett Bucknall and Engineering News-Record, both reported year-over-year increases in construction costs this year, with 2.13% and 3.55%, respectively. These numbers follow a 1.94% in 2010.
Those rises in local costs are similar to the national average, which suggests that rising material costs are driving the increases more than labor. Some of the biggest increases came as the price for steel rose, up 1.6% over the latest month alone, and cement, which rose 0.6%.
New York, as always, is one of the most expensive cities to build in, averaging $290 per square foot for Class A office space, putting it well above Los Angeles, Boston and Washington but behind Honolulu and San Francisco.
Richard Anderson, president of the New York Building Congress, which represents builders, said he doesn’t expect the cost increases to have a significant effect on development in the city or construction unemployment rates.
“The most determining factors in development are not construction cost increases,” Mr. Anderson said. “It’s the lack of job growth in the city that has historically been the major driver [for adding space].”
New York lost 3,400 construction jobs, 3% of the total, over the last year. That was one of the biggest losses in the country, according to the Associated General Contractors of America. Nationwide, construction employment actually increased in 146 of the 337 metropolitan areas and declined in 145.
This summer, construction-labor negotiations affected almost half of the labor agreements in the city. Developers and the Real Estate Board of New York were looking for labor pay cuts and givebacks. Despite some measure of success, there were wage increases built into most of the agreements. These will most likely prompt another construction cost increase next year.
“Construction costs are affected by demand, coupled by the costs of labor and material,” Mr. Anderson said. “In every one of those cases we expect the pressure to increase. The vacancy rate is going down, and the office space is being absorbed. The ingredients are there for a significant increase in office development, but people are wary of going forward with all of this uncertainty.”
Part of the uncertainty comes from contractors being squeezed as the pricing on their bids is rising more slowly than the costs of labor and materials, according to Rider Levett Bucknall.
“There will be some contractors who are so desperate for work that they will bid projects with either no ‘fee’ or even a slightly negative ‘fee’ just to win projects and stay in business,” said Julian Anderson, president of the Rider Levett Bucknall Americas. “For the New York market, it will increase the likelihood of less financially robust general contractors and sub-contractors failing and will mean more disputes around claims for change orders.”
Source: Crain’s NY Business
President Barack Obama has appointed Teresita Fernández, a MacArthur Award winning visual artist, to serve on the U.S. Commission of Fine Arts, a federal panel that advises the President, Congress and governmental agencies on national matters of design and aesthetics. Fernández lives and works in New York and is represented by Lehmann Maupin Gallery.
Members of the arts panel play a key role in shaping Washington’s architecture by approving the site and design of national memorials and museums; advise the U.S. Mint on the design of coins and medals; and administer the National Capital Arts and Cultural Affairs program, which benefits non-profit cultural entities that provide arts programming in Washington. Seven commissioners appointed by the President serve four-year terms.
Past members have included architects, landscape architects and artists, including Daniel Chester French who sculpted the statue of Abraham Lincoln at the Lincoln Memorial and landscape architect Frederick Law Olmsted, Jr., whose projects include the National Mall, Jefferson Memorial and the White House grounds.
Teresita Fernández (b. 1968) is a visual artist best known for her prominent public sculptures and unconventional use of materials. Fernández’s work is characterized by an interest in perception and the psychology of looking. Her experiential, large-scale works are often inspired by landscape and natural phenomena as well as diverse historical and cultural references. She is a 2005 MacArthur Foundation Fellow and has received many prestigious awards including a Guggenheim Fellowship, a Louis Comfort Tiffany Biennial Award, an American Academy in Rome Affiliated Fellowship, and a National Endowment for the Arts Artist’s Grant.
Fernández’s large-scale commissions include a recent site-specific work titled Blind Blue Landscape at the renowned Benesse Art Site in Naoshima, Japan. She is the youngest artist commissioned by the Seattle Art Museum for the recently opened Olympic Sculpture Park where her permanently installed work Seattle Cloud Cover allows visitors to walk under a covered skyway while viewing the city’s skyline through optically shifting multicolored glass.
Ms. Fernández’s works are included in many prominent collections and have been exhibited extensively both nationally and internationally at the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Modern Art Museum of Ft. Worth, the Castello di Rivoli in Turin, Italy, the Corcoran Gallery of Art in Washington DC, the Centro de Arte Contemporaneo in Malaga, Spain, and the Institute of Contemporary Art in Philadelphia. Fernández is currently on the board of Artpace, a non- profit, international artist’s residency program.
She received her MFA from Virginia Commonwealth University and her BFA from Florida International University.
For further information please contact Bethanie Brady at 212 254 0054, [email protected], or visit our website www.lehmannmaupin.com.
Read more: http://broadwayworld.com/article/White-House-Appoints-Teresita-Fernndez-to-the-US-Commission-of-Fine-Arts-20110919#ixzz1YVmSsR6a
Anthony Schirripa, Chairman of Mancini Duffy, an architectural and design firm in New York.
I DECIDED at a young age to become an architect after watching my father, who had a small construction company. I wanted to learn the business, but he said that he didn’t want me to have calluses on my hands, and that I should go to college.
I attended Brooklyn Technical High School, which had an architecture program, and in the summers I was a bricklayer’s laborer at my father’s company and learned to operate a backhoe.
I started in the community college system in New York and transferred to Texas A&M, graduating in 1973 with a bachelor’s of environmental design and a bachelor’s of science in building construction.
My first job was at William B. Tabler Architects, which specialized in hotels. I stayed four years, worked briefly at another architecture firm and then ran my own firm for a year. After that, I joined an architecture group at Gibbs & Hill, an engineering company that designed nuclear power plants.
From 1980 to 1995, I worked for Gensler, another architecture and design firm, where I became a partner. One project I worked on, the Goldman Sachs building in Manhattan, was a half-million square feet. The indirect lighting for the trading floor was trend-setting.
I joined Mancini Duffy in 1995 as a partner, and five years later was named C.E.O. When Ralph Mancini retired in 2006, I became chairman and C.E.O., and in 2010 I passed C.E.O. responsibilities to Michael Winstanley, whose firm merged with ours in 2009.
One of Mancini Duffy’s most challenging projects was consolidating the headquarters for Wachovia Securities, now Wells Fargo Advisors, in the Seagram building on Park Avenue in 2005. That building is a landmark. The lobby and the first 15 feet of the perimeter had to be kept in their original form while we transformed Wachovia’s portion of the structure. We had a tight schedule. At one point I thought it might not be possible to meet the deadline, but we did.
On Sept. 11, 2001, we were located on the 21st and 22nd floors of 2 World Trade Center, the south tower. When the first plane hit the north tower, I was peering out the window at the plaza below while listening to my voicemail. A man was walking toward the north tower when he looked to his right and started running. I heard a pop, thought I smelled diesel fuel and wondered if an emergency generator had exploded in a test. (Later, I knew it was jet fuel.) I decided we should evacuate.
After all our employees left the office, I headed for the stairs. Then I recalled what happened in 1993, after a truck bomb exploded at the trade center: many of our belongings would disappear, and we’d never know what happened to them. So I returned and locked the doors. Then I took the elevator to the lobby. I’m lucky I made it out.
Once on the ground, I looked for our employees, who had all left. I finally got a view of the south tower. Until then, I had no idea that a plane had hit it. I saw that columns were missing on the building perimeter and realized the tower might collapse. I ran into a health club and saw the news on TV.
Our company lost everything, from equipment to records, but we were up and running again in less than a week. JPMorgan gave us temporary space on Park Avenue right after the towers collapsed. And a construction company leased 30 computers for us for a month. Since then, we’ve moved to Midtown and set up more robust back-up and recovery for our I.T. operations.
We’re lucky that everyone in our firm survived. I still get emotional about all the lives that were lost that day. Occasionally, I run into someone I know from the World Trade Center. We look at each other and realize we both survived. It’s a weird feeling.
As told to Patricia R. Olsen.
Source: NYT
Latest US billings index and employment figures also gloomy
US architects’ pay is “stagnant,” according to a new American Institute of Architects (AIA) survey.
The average salary for senior design or project management staff is $94,900 (£58,773), compared with $98,800 in 2008 and $85,800 in 2005.
The average salary for architects/designers is $71,600, unchanged from three years ago but up from $57,700 in 2005, the survey found.
AIA chief economist Kermit Baker said: “In addition to reducing benefits offered to employees, architecture firms have been faced with devastating conditions and had to make difficult reductions in expenses. Salary freezes or reductions, scaled-back hours, the conversion of full-time to part-time or contract employees and mandatory furloughs have all taken a toll on the compensation of architects.”
The AIA noted that the architecture profession had been “hit especially hard” as the construction industry continued to suffer the effects of the prolonged economic downturn.
The survey comes on the back of disappointing employment figures in the States. The construction industry added 24,000 jobs nationally in the first three months of the year – the first quarterly gain since 2006 – before returning to contraction by losing 9,000 jobs overall in the second quarter.
Meanwhile, the latest architecture billings index showed a fall for the third month in a row, reversing nearly all of the improvement generated during late 2010 and spring 2011 when there were five straight months of positive conditions.
Source: BD Online.co.uk
While the economy has stabilized in some regards, architects are still suffering.
Just when it seemed that the architecture industry might be pulling out of its tailspin, some key economic indicators are suggesting that a recovery might take longer than expected.
The Architecture Billings Index, a measure of the industry’s health compiled by the American Institute of Architects, has dipped below 50 for three consecutive months, posting scores of 47.6 (April), 47.2 (May), and 46.3 (June). Those dips came after five straight months of the ABI hovering at or above 50, a sign of increased activity.
Moreover, Engineering News-Record’s Construction Industry Confidence Index—based on surveys sent to contractors, subcontractors, engineers and architects—fell five points in the second quarter of 2011, from 51 to 46.
That data doesn’t surprise architect Charles Dalluge of the Omaha-based firm Leo A. Daly, which has 31 offices around the world. Even though some architects were publicly predicting that “it would be heaven in 2011,” he says, a lot of firms are still suffering.
And he might know. In June, his firm laid off 50 employees from various offices, including architects and engineers. Dalluge defends the move as part of a “strategic repositioning” that will result in the hiring of 50 workers with specialties in areas of growth, such as healthcare. The firm now has 900 employees.
But even a healthcare focus may not be enough to keep some firms alive. In June, Karlsberger, a Columbus, Ohio-based healthcare-focused firm, closed after 83 years in business. None of the firm’s managers would comment on the shuttering, which is believed to have resulted in 40 job cuts. A statement on its website, however, blamed the state of the market for its woes. “Our level of revenues are insufficient for us to meet our ongoing obligations,” it says.
Karlsberger’s former president, Mitchel Levitt, who resigned in April 2010 after 31 years, told RECORD that the firm lost a major lawsuit that made it difficult to go on. The suit was brought against Ohio State University, one of Karlsberger’s largest clients, over the school’s termination of a contract for a $1 billion medical center expansion; the lawsuit was dismissed in December. “It probably hurt them,” Levitt said in an interview conducted in June. “But I thought they had done what they needed to do to continue to operate.”
While the new office building market may show few signs of turnaround, especially while jobs are scarce, a bright spot appears to be college work. Many schools’ endowments were wiped out in the recession but are now being replenished by a robust stock market, which means that many stalled university projects are back on track.
Indeed, the economic downturn suspended a renovation of Yale’s 1928 Swartwout Building, designed by Egerton Swartout. But that project recently resumed, says Richard Olcott, partner at New York-based Ennead Architects, which is overseeing the renovation. Olcott adds that his firm didn’t lay off any workers during the recession; in fact, it hired 40 people in the last year, including architects, for a grand total of 160 employees.
Even public universities, once hurt by dwindling tax-collection revenues, are restarting projects, according to Ayers Saint Gross, a Baltimore design firm at work on a once-stalled science building for the University of Delaware.
The firm added 18 people last year and is now looking to hire five more, including architects. It now has 130 employees, its highest-ever headcount, said Adam Gross, a principal. “I think the indicators are pretty serious,” he said, referring to the ABI and other worrisome data, “but not as serious as we experienced” in the fall of 2008.
Source Architectural Record
aia, architect, architects, architecture, architecture jobs, buildings, construction, Design, Hiring trends, jobs, recession, starting a business, unemployed architects
|
Billing
|
Study ties 40,000-plus jobs here to creative services like fashion, architecture, and interior, industrial and graphic design. City could do more to stoke NY’s creative juices, study argues.
New York’s design sector is the unsung hero of the city’s economy, growing by 75% in the past decade to supply more than 40,000 jobs, an economic think tank reported Wednesday.
More designers are employed here than in any other U.S. city, thanks in part to an explosion in recent years of Brooklyn-based companies, said the report, released on Wednesday by The Center for an Urban Future, a think tank in Manhattan. It noted that the number of Brooklyn-based firms spiked from 257 in 2001 to 433 in 2009, for a 70% increase.
But the massive potential of New York’s design industries isn’t sufficiently exploited by local economic development interests, the report said, arguing that city and state governments don’t do enough to promote local designers and their work.
In other cities around the world, the government invests cash and energy in promoting their design industries, said David Giles, the study’s author. “Milan brands their furniture designers, London brands their industrial and graphic designers,” he explained. “And in the U.K., the Trade and Investment agency is a venue for foreign investors to meet manufacturers.”
Similarly, he said, other cities promote aggressive export strategies, while New York does not; for example, while New York’s state export assistance program has a budget of $1.5 million dollars a year, the province of Ontario has $70 million to work with annually. “There’s huge potential here,” Mr. Giles said.
Designers in New York echoed the study’s conclusions. Amy Smilovic, the head designer for the young contemporary design house Tibi, has noticed the differences in her travels. “When you go to Milan or Paris, or even Miami,” she said, “you get the sense that design is part of the heritage and that it’s very respected and promoted. New Yorkers are hard pressed to even know when fashion week is.”
Sometimes, it’s the little things that can convey that impression.
“In Paris, when you go to even the fabric shows, the trade center is so accessible by train and all the Metro platforms have signage up everywhere so everyone in Paris knows the shows are happening.” Ms. Smilovic said. “New Yorkers are hard-pressed to even know when fashion week is.”
But Brooklyn native Paul D’Aponte, whose company Fabbrica D’Aponte designs apparel, accessories and furniture, said that while the city doesn’t seem too concerned with marketing design, he can’t really blame public officials.
“When they’re having these massive problems with the education system, for example, that takes precedence,” Mr. D’Aponte said.
“I wouldn’t mind help with my business, but I’d be better off if I had had a better K-12 education to begin with,” he joked.
The city’s Economic Development Corp. said Wednesday it would review the report’s recommendations. “Over the past two years we’ve launched a number of programs dedicated to helping our thriving creative industries,” said a spokesman for the EDC. “But we’re of course always looking for new ideas.”
On Wednesday, the EDC announced the implementation of “Fashion Campus NYC,” an initiative designed to give exposure to up-and-comers in fashion and retail management. It is the first in a series of six initiatives the EDC has planned to promote the city’s fashion industry.
The study by Mr. Giles defined the city’s “creative economy” as a work force of around 40,500 in the fields of fashion design but also architecture, interior design and graphic and industrial design.
Hat tip: Crain’s New York Business
Demand for architectural design fell in April to the lowest point of the year.
The Architecture Billings Index, which indicates construction volume, decreased marginally to 47.6 in April from 50.5 in March, according to American Institute of Architects data released Wednesday.
The benchmark for the index is 50. Anything above that indicates an increase in architectural billings and anything below indicates a decrease. The AIA surveys a panel of member firms monthly, asking if billings increased, decreased, or stayed the same. The national association then weighs the responses for the index.
April was the first month in 2011 the index swung below 50.
The sharp decline in demand for architectural services has analysts scratching their heads. Kermit Baker, chief economist at AIA, said he is unsure whether to attribute the drop to an industry-wide reversal in demand for design or a bump in the road.
“The fact that most construction projects funded under the federal stimulus program have completed their design work, the anxiety around the possibility of a shutdown in the federal government in April, as well as the unusually severe weather in the Southeast had something to do with this falloff,” Baker said. “However, the majority of firms are reporting at least one stalled project in-house because of the continued difficulty in obtaining financing.”
Baker also echoed Redwood Trust CEO Martin Hughes’ sentiment when he said financing continues to be the main roadblock to recovery. Hughes testified before the Senate Banking Committee Wednesday.
The new projects inquiry index also experienced a sharp drop in April, falling to 55 from 58.7 a month prior, according to AIA.
The regional buildings index was highest in the Northeast at 51.2, followed by the Midwest at 51.1, the South at 48.3, and the West at 47.7. The index was the highest in the multifamily residential sector (53.9) followed by the commercial/industrial sector (49.9), the institutional sector (45.9) and the mixed practice sector (45.2).
“Big Tent” event brings together economists, designers in half-day session
Gary H. London
Architects and other designers need to readjust their careers to match the “new normal” in real estate development, according to local economist Gary London.
“The past is not prologue,” London says. “Virtually every understanding we’ve had about the built environment prior to the recession has changed.”
Those include smaller homes, less square footage per employee in offices, the Internets impact on stores and shopping and reduced manufacturing.
London said the upshot of these changes is that architects and others in related fields need to think of their career futures differently “because the environment will be different.”
“The job market will come back for them, but at the same, slow pace that the industry is expected to come back,” he said.
London will make these points at a half-day session sponsored by various architectural and design groups from 8 a.m to noon Saturday at the New School of Architecture and Design, 1249 F St. in downtown San Diego.
Organizers call it a “Big Tent” function, because it includes many design-related organizations and professionals all meeting in one place.
“The industry is 40 percent unemployed,” said architect Jack Carpenter, who is organizing the event. “The new economy is barely getting off the ground, and we know it is going to be different than it was.”
He said architects and others in the construction business will have to get used to working on smaller projects and, in housing, on apartments and town houses, rather than single-family homes.
“One thing we’re going to be talking about is expanding your portfolio,” Carpenter said. “You have to understand the new technology, construction management and other areas people might migrate into.”
Besides London, economist Alan Nevin also is scheduled to make a keynote speech. Panels will follow that include changes in governmental rules and regulation, new approaches to mixed-use development, legal changes affecting developers and financing issues.
Source: San Diego Union-Tribune
Monumental victims of dwindling finances, public backlash and political roadblocks, many designs from the world’s most celebrated architects never broke ground. Promising much in their form and magnitude, the stunning structures exist only as colorfully rendered visions on a lost landscape. Here, man’s best unmade plans.
Zaha Hadid's proposed Dubai Performing Arts Center was a 2009 victim of the global economic slowdown.
In his classic novel “Invisible Cities,” Italo Calvino envisioned a building, in a city called Fedora, containing a series of small globes. The visitor peering into each would see a small city, a model of a different Fedora. “These are the forms the city could have taken,” wrote Calvino, “if for one reason or another, it had not become what we see today.” In the real world, one can stand on a street in Manhattan and look into one’s iPhone, where the app “Museum of the Phantom City: Other Futures” reveals the New York that might have been: from the fantastic (Buckminster Fuller’s projected Midtown-covering dome) to the nearly realized (Diller and Scofidio’s Eyebeam Museum).
Architectural history is told by the victors, city skylines their monuments. But there are also missing monuments, those projects which, by dint of political folly, the capricious tides of public taste or simple financial overreach, never break ground. The credit crisis, for example, has turned a presumptive architectural fantasyland in Dubai, that emirate of excess—where submerged hotels or $3 billion cities in the form of chessboards were the order of the day—into a graveyard of gauzy renderings.
The financial collapse claimed so many schemes that the architectural and design provocateurs Constantin Boym and Laurene Leon Boym, known for their small metal replicas of such buildings as the Chernobyl plant (as part of the “Buildings of Disaster” series), began in 2009 to produce a series of so-called “Recession Souvenirs,” projects like Norman Foster’s Russia Tower. “But the series was short-lived,” says Constantin Boym, speaking from Doha, Qatar. “There was not much enthusiasm in this black humor any more.” (The few that were made, however, are highly collectible.)
As is suggested by their difficulty in getting built, unbuilt projects are often superlative in some sense, as much a statement as an edifice. Boris Iofan’s neoclassical Palace of the Soviets, for example, on which construction began in 1937, gradually morphed (with input from Stalin) into what would have been the world’s largest skyscraper. War intervened, however, and its steel frame was repurposed into bridges in 1941.
Norman Foster's Russia Tower. Photos: Renderings to Remember - These brilliant designs from some of the world's greatest architects never saw the light of day.
Even when absent, unbuilt projects can exert a curiously powerful hold on the cultural imagination: Étienne-Louis Boullée’s massively spherical 18th-century cenotaph for Isaac Newton still looms, like the Montgolfier balloon that was said to have inspired it, over the architectural landscape. The 1960s British proposal by Cedric Price for his Fun Palace, with its visual echoes in the Centre Pompidou, now looks prophetic.
Perhaps the most common, and salient, feature of unbuilt projects is that every architect, at some point in his career, will design one—or several. Will Jones, author of “Unbuilt Masterworks of the 21st Century,” says these are not necessarily negatives in an architect’s career. “If an architect can look back upon it without too much bitterness, it’s the perfect area to test out ideas,” he says. “It’s a proving ground, that they take on and can use in future buildings.” Jones notes that Richard Rogers’s Welsh Assembly building, for example, contains ideas from his unbuilt Rome Congress Center design, which itself, the firm notes, advanced themes from a competition for the Tokyo International Forum project.
The building itself hardly sailed to completion; Rogers was briefly fired from the project. But he ultimately avoided the fate of Zaha Hadid, whose Cardiff Bay Opera House, one of the most lamented unbuilt projects of the past few decades, crashed amid the rocky shoals of politics—nationalist, classist (The Sun denounced using Lottery funds for a project for “Welsh toffs”) and aesthetic. “It devastated us,” Hadid says. But this, and a subsequent slew of unbuilt competition entries, “tested our ideas on landscape topography, and you can see the results of this now in all of our work.” Hadid may be the only architect with two unbuilt opera houses (a project in Dubai was terminated), not to mention a celebrated—and built—opera house in Guangzhou, China.
Sometimes unbuilt projects turn out to have a rather unexpected second life. The young Danish architect Bjarke Ingels, whose firm designed the Danish Pavilion at the Shanghai World Expo, entered a competition in 2008 for a resort project in the north of Sweden. The firm lost the competition. But when they showed the work to a Chinese developer, he was struck by the fact that the building’s shape resembled the Chinese character for “people.” The firm hired a feng shui master, scaled the building up to “Chinese proportions,” and the “People’s Building” is now slated for Shanghai’s Bund.
With China’s expanding economic might, its low-cost labor, and relative lack of restrictions in blank-slate cities like Guangzhou, unbuilt projects have been a rarity. This is common in places where economic booms and cultural dreams conspire. As Los Angeles Times architecture critic Christopher Hawthorne argues, “Los Angeles was known for much of the 20th century as the city where anything—and everything—could and did get built, from massive subdivisions, to avant-garde houses clinging to hillsides, to hot dog stands shaped like hot dogs.”
On the flip side, however, sits another kind of “unbuilt” architecture—that which is torn down. And Los Angeles, Hawthorne says, rarely paused to reflect as it knocked down iconic architecture. Today, he says, with open land more scarce, seismic and other building codes constricted, it’s much harder to get things built. So now, as it is elsewhere, the destroyed and the unbuilt jostle in the collective imagination, and, as Hawthorne describes it, “the black-and-white photograph of the long-ago destroyed landmark is now joined in the collective imagination by the sleek digital rendering of the high-design project that couldn’t get financing.”
View Building’s slideshow
Article in WSJ
architects, architecture, modern architecture, modern buildings, new buildings, Urban Planning
|
Bjarke Ingels, Christopher Hawthorne, Constantin Boym, Invisible Cities, Laurene Leon Boym, Norman Foster, TOM VANDERBILT, Wall Street Journal, Will Jones, Zaha Hadid
|
